René Burri : mouvement
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Over the course of a half-century, the photographs of René Burri (1933–2014) have tracked the turning points, triumphs and crises of the twentieth century. Whether it was the 15-year-old Burri's portrait of Winston Churchill or his later portrayals of Che Guevara, Fidel Castro, Richard Nixon, Anwar as-Sadat or Muammar al-Gaddafi, all have lodged themselves in the(...)
René Burri : mouvement
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$120.00
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Over the course of a half-century, the photographs of René Burri (1933–2014) have tracked the turning points, triumphs and crises of the twentieth century. Whether it was the 15-year-old Burri's portrait of Winston Churchill or his later portrayals of Che Guevara, Fidel Castro, Richard Nixon, Anwar as-Sadat or Muammar al-Gaddafi, all have lodged themselves in the collective consciousness. Removed from sensationalism yet no less striking are Burri's images of the theater of war, of people suffering in poverty and calamity. And as if to hold such horrors in check, Burri turned his lens with equal intensity to the spheres of beauty and creativity—to the landscapes of Latin America, to great artists such as Picasso and Maria Callas, and to luminaries of architecture such as Le Corbusier and Oscar Niemeyer. This two-volume collection offers an extensive compilation of images from the eminent photojournalist.
Photography monographs
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Published shortly after Barack Obama's triumphant election victory, this celebration of the best that the Dutch Graphic design world has to offer is a real treat. Conceived by Amsterdam-based designer's Thonik, the publication presents 64 portraits of political and spiritual leaders drawn from modern world history. In a production where good and bad leadership seem to(...)
Grafisch Netherland 2009 Black-White
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Published shortly after Barack Obama's triumphant election victory, this celebration of the best that the Dutch Graphic design world has to offer is a real treat. Conceived by Amsterdam-based designer's Thonik, the publication presents 64 portraits of political and spiritual leaders drawn from modern world history. In a production where good and bad leadership seem to collide, photographs of leaders have been converted into graphic images through a complicated technical and creative process in order to emphasise the ambiguity. Alongside Obama, such figures as Theodore Roosevelt, Atatürk, Stalin, Nelson Mandela, Mahmoud Ahmadinejad, Ho Chi Min, Fidel Castro, Martin Luther King and the Dalai Lama also appear. All heroes and villains appear in full page, black and white glory, accompanied by notable quotes and packaged in imposing face-filled, slip-case.
Graphic Design and Typography
White Review #20
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"The White Review #20" features interviews with the Canadian poet, artist and bookmaker Anne Carson, the French philosopher Jean-Luc Nancy, and artist Mounira Al Solh. Through the testimony of an ex-inmate, Felix Bazalgette considers state systems of control, dehumanisation, and imprisonment without trial, while J. S. Tennant describes life in Havana as Cuba adjusts to(...)
White Review #20
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"The White Review #20" features interviews with the Canadian poet, artist and bookmaker Anne Carson, the French philosopher Jean-Luc Nancy, and artist Mounira Al Solh. Through the testimony of an ex-inmate, Felix Bazalgette considers state systems of control, dehumanisation, and imprisonment without trial, while J. S. Tennant describes life in Havana as Cuba adjusts to the normalisation of relations with the United States, the death of Fidel Castro and the influx of foreign investment. Tom McCarthy’s essay ‘The Wandering Bourgeois’ drifts through the history of twentieth-century art to consider how vanguard strategies of recording, mapping and marking are now embedded in digital culture. Alongside these essays, we are pleased to present poems by Nisha Ramayya and Heather Phillipson, who also contributes an exclusive new limited edition artwork. We also feature series of artworks by Nicolas Party and John Divola.
Magazines
Cuba une révolution
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"Cette fois, c'est la révolution pour de vrai" : tels furent les premiers mots prononcés publiquement par Fidel Castro à Santiago de Cuba, après la fuite du général Fulgencio Batista. Le nouveau leader entendait faire table rase du passé, et s'employa d'emblée à produire une idéologie et à refondre le droit. Soulignant l'inachèvement du projet national, son gouvernement(...)
Cuba une révolution
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"Cette fois, c'est la révolution pour de vrai" : tels furent les premiers mots prononcés publiquement par Fidel Castro à Santiago de Cuba, après la fuite du général Fulgencio Batista. Le nouveau leader entendait faire table rase du passé, et s'employa d'emblée à produire une idéologie et à refondre le droit. Soulignant l'inachèvement du projet national, son gouvernement put compter sur des appuis aux motifs divergents. Il composa avec des logiques d'action concurrentes : épurations, démonstrations de force, stratégies traditionnelles de captation de prébendes, mobilisations étudiante et syndicale, activisme catholique-réformiste, initiatives citoyennes, mais aussi repli sur la sphère privée... C'est ainsi que, peu à peu, dans un contexte de guerre froide, se constituèrent les règles et se dessinèrent les stratégies individuelles qui fournirent un ancrage à une nouvelle forme de vie en commun. Cette enquête portant sur la période 1952-1989 associe des approches philosophique, sociologique et anthropologique pour situer le régime castriste par rapport au nationalisme cubain, aux populismes latino-américains et aux expériences totalitaires du XXe siècle.
History until 1900
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The Escuelas Nacionales de Arte (National Art Schools), constructed from 1961 to 1965, were the result of an educational program initiated by Fidel Castro and Che Guevara soon after the Revolution of 1959. The architects they commissioned created an (...)
Revolution of forms : Cuba's forgotten art schools
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The Escuelas Nacionales de Arte (National Art Schools), constructed from 1961 to 1965, were the result of an educational program initiated by Fidel Castro and Che Guevara soon after the Revolution of 1959. The architects they commissioned created an organic complex of brick and terra-cotta Catalan vaulted structures that reflected the optimism and exuberance of the period. The schools attempted to reinvent architecture, just as the Revolution hoped to reinvent society. However, even before construction was completed, the schools fell out of official favor and were subjected to an attack that resulted in their subsequent "disappearance." An ideological campaign branded them politically incorrect, a bourgeois luxury that was not in keeping with the Revolution. The buildings fell into disuse and, abandoned to the jungle, were literally overgrown. Now, almost 40 years later, Cuba is beginning to recognize and reclaim these significant works of architecture. Revolution of Forms investigates the history and politics surrounding the creation of these structures as well as their subsequent abandonment. The text is accompanied by archival photographs, plans, and images of the present condition of these structures.
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January 1999, New York
Architecture since 1900, Europe
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In this first English-language edition of Oscar Niemeyer’s memoirs, the architect reveals how his many passions – among them his large family, many friends, the sensuous landscape of Brazil, women, communism, art and literature – have influenced his life and in turn inspired his architecture. Born in Rio de Janeiro, Niemeyer graduated from the National School of Fine Arts(...)
The curves of time : the memoirs of Oscar Niemeyer
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In this first English-language edition of Oscar Niemeyer’s memoirs, the architect reveals how his many passions – among them his large family, many friends, the sensuous landscape of Brazil, women, communism, art and literature – have influenced his life and in turn inspired his architecture. Born in Rio de Janeiro, Niemeyer graduated from the National School of Fine Arts in 1934. As a student he worked in the office of Lucio Costa, and on graduation he began collaborating with Le Corbusier on a new Ministry of Education and Health Building in Rio. Yet in contrast to the International Style, Niemeyer’s curvilinear forms reflected Brazil’s lush, undulating landscape and the emotive style of its music and dance. Here Niemeyer recounts his life in an informal, fluid narrative that moves from his childhood in Rio to friendships with intellectuals and politicians such as Jean-Paul Sartre and Fidel Castro, to tales of adventurous road trips. The book includes forty sketches by Niemeyer executed specially for these memoirs, a chronology of his life and career, notes and an index.
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October 2000, London
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